Yes are an English rock band formed in London in 1968 by singer Jon Anderson and bassist Chris Squire. The band has undergone numerous formations throughout its history; nineteen musicians have been full time members. Since June 2015, it has consisted of guitarist Steve Howe, drummer Alan White, keyboardist Geoff Downes, singer Jon Davison, and bassist Billy Sherwood. Yes adopted several changes in musical style, from rearranged covers to progressive and art rock in the 1970s, before moving towards pop in the 1980s. They have sold 13.5 million RIAA-certified albums in the US.[2]

Yes changed their name from Mabel Greer's Toyshop and performed rearranged covers of rock, pop, blues and jazz songs as evident on their first two albums. A change of direction in 1970 led to a series of successful progressive and art rock-style albums until their disbanding in 1981, their most successful being The Yes Album (1971), Fragile (1971) and Close to the Edge (1972). Yes toured as a major rock act that earned the band a reputation for their elaborate stage sets, light displays, and album covers designed by Roger Dean. The success of "Roundabout", the single from Fragile, cemented their popularity across the decade and beyond.

In 1983, Yes reformed with a new line-up that included guitarist Trevor Rabin and a more commercial and pop-oriented musical direction. The result was 90125 (1983), their highest selling album which contained the US number one single, "Owner of a Lonely Heart". From 1990 to 1992, Yes were an eight-member formation after they merged with Anderson Bruford Wakeman Howe to release Union (1991) and complete its tour. Since 1994, Yes have released albums with varied levels of success and completed tours from 1997 to 2004. After a four-year break in activity, they resumed touring in 2008 and continue to release albums; their most recent is Heaven & Earth (2014).

Yes are one of the most successful, influential, and longest lasting progressive rock bands. In 1985, they won a Grammy Award for Best Rock Instrumental Performance with "Cinema", and received five Grammy nominations between 1985 and 1992. Yes have headlined annual progressive rock-themed cruises since 2013 named Cruise to the Edge. Their discography spans 21 studio albums. A campaign to have Yes inducted into the Rock and Roll Hall of Fame began in 2013; the band were nominated for inclusion in 2014, 2015, and 2016.

In 1967, bassist Chris Squire joined the rock band Mabel Greer's Toyshop,[3] with singer and guitarist Clive Bayley, drummer Bob Hagger, and guitarist Peter Banks.[4] They played at the Marquee Club in Soho, London where Jack Barrie, owner of the nearby La Chasse club, saw them perform. "There was nothing outstanding about them", he recalled, "the musicianship was very good but it was obvious they weren't going anywhere".[5] Barrie introduced Squire to singer Jon Anderson, a worker at the bar in La Chasse, who found they shared interests in Simon & Garfunkel and harmony singing. That evening at Squire's house they wrote "Sweetness," which was included on the first Yes album.[6] Meanwhile, Banks had left Mabel Greer's Toyshop to join Neat Change, but he was dismissed by this group on 7 April 1968.[4] In June 1968, Hagger was replaced in the nascent Yes by Bill Bruford, who had placed an advertisement in Melody Maker,[4][7] and Banks was recalled by Squire, replacing Bayley as guitarist.[4] Finally, the classically trained organist and pianist Tony Kaye, of Johnny Taylor's Star Combo and The Federals, became the keyboardist and the fifth member.[8] The newborn band rehearsed in the basement of The Lucky Horseshoe cafe on Shaftesbury Avenue between 10 June and 9 July 1968.[9][10][11]

Anderson suggested that they call the new band Life while Squire suggested that it be called World.[12] After renaming themselves as Yes! at Banks' suggestion,[4] the first gig under the new brand followed at a youth camp in East Mersea, Essex on 4 August 1968. Early sets were formed of cover songs from artists such as the Beatles, the 5th Dimension and Traffic.[13] On 16 September, Yes performed at Blaise's club in London as a substitute for Sly and the Family Stone, who failed to turn up. They were well received by the audience, including the host Roy Flynn who became the band's manager that night.[14] That month, Bruford decided to quit performing to study at Leeds University.[15] His replacement, Tony O'Reilly of the Koobas, struggled to perform with the rest of the group on-stage.[15] After Bruford was refused a year's sabbatical leave from Leeds, Anderson and Squire convinced him to return for Yes' supporting slot for Cream's farewell concert at the Royal Albert Hall on 26 November.[15]

Jon Anderson in 1973

After seeing an early King Crimson gig in 1969, Yes realised that there was suddenly stiff competition on the London gigging circuit, and they needed to be much more technically proficient, starting regular rehearsals.[16] They subsequently signed a deal with Atlantic Records, and, that August, released their debut album Yes.[17] Compiled of mostly original material, the record includes renditions of "Every Little Thing" by the Beatles and "I See You" by the Byrds. Although the album failed to break into the UK album charts, Rolling Stone critic Lester Bangs complimented the album's "sense of style, taste, and subtlety".[18]Melody Maker columnist Tony Wilson chose Yes and Led Zeppelin as the two bands "most likely to succeed".[19]

Following a tour of Scandinavia with the Small Faces, Yes performed a solo concert at the Queen Elizabeth Hall on 21 March 1970. The second half consisted of excerpts from their second album Time and a Word, accompanied with a 20-piece youth orchestra.[20] Banks, who was dissatisfied with the idea of recording with an orchestra and the sacking of Flynn earlier in the year, left the group in May, two months prior the album's release.[17][21] Banks later claimed he was fired by Anderson and Squire, and that Kaye and Bruford had no prior knowledge that it would be happening.[16] Similar to the first album, Time and a Word features original songs and two new covers–"Everydays" by Buffalo Springfield and "No Opportunity Necessary, No Experience Needed" by Richie Havens. The album broke into the UK charts, peaking at number 45. Banks' replacement was Tomorrow guitarist Steve Howe, who is photographed with the group on the American issue despite not playing on it.[22]

The band retreated to a rented farmhouse in Devon to write and rehearse new songs for their following album. Howe established himself as an integral part of the group's sound with his Gibson ES-175 and variety of acoustic guitars. With producer and engineer Eddy Offord, recording sessions lasted as long as 12 hours with each track being assembled from small sections at a time, which were pieced together to form a complete track. The band would then learn to play the song through after the final mix was complete.[23] Released in February 1971, The Yes Album peaked at number 4 in the UK and number 40 on the US Billboard 200 charts.

Yes embarked on a 28-day tour of Europe with Iron Butterfly in January 1971.[24] The band purchased Iron Butterfly's entire public address system, which improved their on-stage performance and sound.[25] Their first date in North America followed on 24 June in Edmonton, Canada supporting Jethro Tull.[26] Kaye performed his final show with Yes at the Crystal Palace Bowl that August. The decision was made after friction arising between Howe and himself on tour,[27] and his reported reluctance to play the Mellotron and the Minimoog synthesiser.

Fragile, Close to the Edge and Tales from Topographic Oceans (1971–74)[edit]

At the time of Kaye's departure, Yes had already found their new keyboardist – Rick Wakeman, a classically trained player who left the folk rock group Strawbs earlier in the year. He was already a noted studio musician, with credits including T. Rex, David Bowie, Cat Stevens and Elton John. Squire commented that he could play "a grand piano for three bars, a Mellotron for two bars and a Moog for the next one absolutely spot on",[28] which gave Yes the orchestral and choral textures that befitted their new material.

Released on 26 November 1971, the band's fourth album Fragile showcased their growing interest in the structures of classical music, with an excerpt of The Firebird by Igor Stravinsky being played at the start of their concerts since the album's 1971–1972 tour.[29] Each member performed a solo track on the album, and it marked the start of their long collaboration with artist Roger Dean, who designed the group's logo, album art, and stage sets. Fragile peaked at number 7 in the UK and number 4 in the US[30] after it was released there in January 1972, and was their first record to reach the top ten in North America. A shorter version of the opening track, "Roundabout", was released as a single that peaked at number 13 on the BillboardHot 100 singles chart.[31]

In February 1972, Yes recorded a cover version of "America" by Paul Simon. The single reached number 46 on the US singles chart.[32] The track subsequently appeared on The New Age of Atlantic, a 1972 compilation album of several bands signed to Atlantic Records, and again in the 1975 compilation Yesterdays.

Released in September 1972, Close to the Edge, the band's fifth album, was their most ambitious work so far. At 19 minutes, the title track took up an entire side on the vinyl record and combined elements of classical music, psychedelic rock, pop, and jazz. The album reached number 3 in the US[30] and number 4 on the UK charts.[33] "And You and I" was released as a single that peaked at number 42 in the US.[32] The growing critical and commercial success of the band was not enough to retain Bruford, who left Yes in the summer of 1972, before the album's release to join King Crimson. The band considered several possible replacements, including Aynsley Dunbar (who was playing with Frank Zappa at the time),[34] and decided on former Plastic Ono Band drummer Alan White, a friend of Anderson and Offord who had once sat in with the band weeks before Bruford's departure.[35] White learned the band's repertoire in three days before embarking on their 1972–1973 tour. By this point, Yes were beginning to enjoy worldwide commercial and critical success. Their early touring with White was featured on Yessongs, a triple live album released in May 1973 that documented shows from 1972. The album reached number 7 in the UK and number 12 in the US.[30][36] A concert film of the same name premiered in 1975[37] that documented their shows at London's Rainbow Theatre in December 1972, with added psychedelic visual images and effects.

"It is a fragmented masterpiece, assembled with loving care and long hours in the studio. Brilliant in patches, but often taking far too long to make its various points, and curiously lacking in warmth or personal expression..."Ritual" is a dance of celebration and brings the first enjoyable moments, where Alan's driving drums have something to grip on to and the lyrics of la la la speak volumes. But even this cannot last long and cohesion is lost once more to the gods of drab self indulgence."

Tales from Topographic Oceans was the band's sixth studio album, released on 14 December 1973. It marked a change in their fortunes and polarised fans and critics alike. The double vinyl set was based on Anderson's interpretation of the Shastric scriptures from a footnote within Paramahansa Yogananda's book Autobiography of a Yogi. The album became the first LP in the UK to ship gold before the record arrived at retailers.[39] It went on to top the UK charts for two weeks while reaching number 6 in the US,[30] and became the band's fourth consecutive gold album. Wakeman was not pleased with the record and is critical of much of its material.[40] He felt sections were "bled to death" and contained too much musical padding. Wakeman left the band after the 1973–1974 tour; his solo album Journey to the Centre of the Earth topped the UK charts in May 1974.[41] The tour included five consecutive sold out shows at the Rainbow Theatre, the first time a rock band achieved this.[42]

Relayer, Going for the One, Tormato and the Paris sessions (1974–80)[edit]

Several musicians were approached to replace Wakeman, including Vangelis Papathanassiou, Eddie Jobson of Roxy Music and former Atlantis/Cat Stevens keyboardist Jean Roussel. Yes ultimately chose Swiss keyboardist Patrick Moraz of Refugee, who arrived in August 1974[43] during the recording sessions for Relayer, which took place at Squire's home in Virginia Water, Surrey. Released in November that year, Relayer showcased a jazz fusion-influenced direction the band were pursuing. The album features the 22-minute track titled "The Gates of Delirium", which highlights a battle initially inspired by War and Peace by Leo Tolstoy. Its closing section, "Soon", was subsequently released as a single. The album reached number 4 in the UK and number 5 in the US.[30][44] Yes embarked on their 1974–1975 tour to support Relayer. The compilation album Yesterdays, released in 1975, contained tracks from Yes' first two albums, the b-side track from their "Sweet Dreams" single from 1970 titled "Dear Father", and the original ten-minute version of their cover of "America".[45]

Between 1975 and 1976, each member of the band released a solo album. Their subsequent 1976 tour of North America with Peter Frampton featured some of the band's most-attended shows. The show of 12 June, also supported by Gary Wright and Pousette-Dart Band at the John F. Kennedy Stadium in Philadelphia, attracted over 100,000 people.[46] Roger Dean's brother Martyn was the main designer behind the tour's "Crab Nebula" stage set, while Roger and fabric designer Felicity Youette provided the backgrounds.

In late 1976, the band travelled to Switzerland and started recording for their album Going for the One at Mountain Studios, Montreux. It was then that Anderson sent early versions of "Going for the One" and "Wonderous Stories" to Wakeman, who felt he could contribute to such material better than the band's past releases. Moraz was let go, after Wakeman was booked on a session musician basis. Upon its release in July 1977, Going for the Onetopped the UK album charts for two weeks and reached number 8 in the US.[30][47] "Wonderous Stories" and "Going for the One" were released as singles in the UK and reached numbers 7 and 25, respectively.[47] Although the album's cover was designed by Hipgnosis, it still features their Roger Dean "bubble" logotype. The band's 1977 tour spanned across six months.

Tormato was released in September 1978 at the height of punk rock in England, during which the music press criticised Yes as representing the bloated excesses of early-1970s progressive rock. The album saw the band continuing their movement towards shorter songs; no track runs longer than eight minutes.[48] Wakeman replaced his Mellotrons with the Birotron, a tape replay keyboard, and Squire experimented with harmonisers and Mu-tron pedals with his bass. Production was handled collectively by the band and saw disagreements at the mixing stage among the members. The album reached number 8 in the UK and number 10 in the US charts.[30] Despite internal and external criticisms of the album, the band's 1978–1979 tour was a commercial success. Concerts were performed in the round with a £50,000-central revolving stage and a 360-degree sound system fitted above it. Yes earned a "Golden Ticket Award" for grossing over $1 million in box office receipts.[49]

In October 1979, the band convened in Paris with producer Roy Thomas Baker. Their diverse approach was now succumbing to division, as Anderson and Wakeman favoured the more fantastical and delicate approach while the rest preferred a heavier rock sound. Howe, Squire and White liked none of the music Anderson was offering at the time as it was too lightweight and lacking in the heaviness that they were generating in their own writing sessions. The Paris sessions abruptly ended in December after White broke his foot while rollerskating in a roller disco.[50] When the band, minus Wakeman (who had only committed to recording keyboard overdubs once new material would be ready to record) reconvened in February to resume work on the project, their growing musical differences, combined with internal dissension, obstructed progress. Journalist Chris Welch, after attending a rehearsal, noted that Anderson "was singing without his usual conviction and seemed disinclined to talk".[51] By late March, Howe, Squire and White had begun demoing material as an instrumental trio, increasingly uncertain about Anderson's future involvement. Eventually, a serious band dispute over finance saw Anderson leave Yes, with a dispirited Wakeman departing at around the same time.

In 1980, pop duo The Buggles (keyboardist Geoff Downes and singer Trevor Horn) acquired Brian Lane as a manager. The pair had had a worldwide hit with the single "Video Killed the Radio Star", and were working in the same rehearsal complex as Yes. The duo already had a song called "We Can Fly From Here," which they thought would be suitable for Yes and which they consequently pitched to the band. A demo of the song was recorded in May 1980 with Squire's participation.

At this point, the departure of Anderson and Wakeman had been kept secret from everyone outside the Yes inner circle. Seeing an option of continuing the band with new creative input and expertise, Squire revealed the situation to Horn and Downes and suggested that they join Yes as full-time members. Horn and Downes accepted the invitation and the reconfigured band recorded the Drama album, which was released in August 1980. The record displayed a heavier, harder sound than the material Yes recorded with Anderson in 1979, opening with the lengthy hard rocker "Machine Messiah". The album peaked at number 2 in the UK and number 18 in the US.[30] Their 1980 tour of North America and the UK received a mixed reaction from audiences. They were well received in the United States, and were awarded with a commemorative certificate after they performed a record 16 consecutive sold out concerts at Madison Square Garden since 1974.[52]

After the Drama tour, Yes reconvened in England to decide the band's next step, beginning by dismissing Lane as their manager. Horn chose to leave Yes to pursue a career in music production, with White and Squire next to depart. Left as the sole remaining members, Downes and Howe opted not to continue with the group and went their own separate ways in December 1980. A live compilation album of Yes performances from 1976 to 1978, mixed in mid-1979 and originally intended for release in late 1979, was released as Yesshows, peaking at number 22 in the UK charts and number 43 in the US.[30] An announcement came from the group's management in March 1981 confirming that Yes no longer existed.

Downes and Howe later reunited to form Asia with former King Crimson bassist and vocalist John Wetton, and drummer Carl Palmer from Emerson, Lake, and Palmer. Squire and White continued to work together, initially recording sessions with Jimmy Page for a proposed band called XYZ (short for "ex-Yes-and-Zeppelin") in the spring of 1981. Page's former bandmate Robert Plant was also to be involved as the vocalist but he lost enthusiasm, citing his ongoing grieving for recently deceased Led Zeppelin drummer John Bonham. The short-lived group produced a few demo tracks, elements of which would appear in Page's band The Firm and on future Yes tracks "Mind Drive" and "Can You Imagine?". In late 1981, Squire and White released "Run with the Fox", a Christmas single with Squire on vocals which received radio airplay through the 1980s and early 1990s during the Christmas periods. A second Yes compilation album, Classic Yes, was released in November 1981.

Trevor Rabin, pictured here at a Yes concert in 1994. Rabin joined the band when it reformed in 1982, and stayed until 1994, when he decided to become a film composer.

In 1982, Phil Carson of Atlantic Records introduced Squire and White to South African rock guitarist and singer Trevor Rabin, who had initially made his name with the pop band Rabbitt, subsequently releasing three solo albums, working as a record producer and even briefly being considered as a member of Asia. The three teamed up in a new band called Cinema, for which Squire also recruited the original Yes keyboard player Tony Kaye. Despite the presence of three Yes musicians, Cinema was not originally intended to be a continuation of Yes, and entered the studio to record a debut album as a brand new group. Although Rabin and Squire initially shared lead vocals for the project, Trevor Horn was briefly brought into Cinema as a potential singer,[53] but soon opted to become the band's producer instead.

Horn polished the band's developing songs with modern studio effects and digital sampling and also played a prominent role in vocal arrangement (including contributing to the backing vocals). However, his clashes with Tony Kaye (complicated by the fact that Rabin was playing most of the keyboards during the recording sessions) led to Kaye's departure after around six months of rehearsing.[53] Meanwhile, Squire encountered Jon Anderson (who, since leaving Yes, had released two solo albums and had success with the Jon and Vangelis project) at a Los Angeles party and played him the Cinema demo tracks. Anderson was invited into the project as lead singer and joined in April 1983 during the last few weeks of the sessions, having comparatively little creative input beyond adding his lead vocals and re-writing some lyrics.

At the suggestion of record company executives, Cinema then changed their name to Yes in June 1983. Rabin initially objected to this, as he now found that he had inadvertently joined a reunited band with a history and expectations, rather than help launch a new group.[54] However, the presence of four former Yes members in the band (three of whom were founding members, including the distinctive lead singer) suggested that the name change was sound commercial strategy. The new album marked a radical change in style as the revived Yes had adopted a pop rock sound that showed little of their progressive roots. This incarnation of the band has sometimes been informally referred to as "Yes-West", reflecting the band's new base in Los Angeles rather than London.

Yes released their comeback album 90125 (named after its catalogue serial number on Atco Records) in November 1983. It became their biggest-selling album, selling over 6 million copies, and introduced the band to younger fans. "Owner of a Lonely Heart" topped the Hot Mainstream Rock Tracks chart for four weeks, and went on to reach the number one spot on the Billboard Hot 100 singles chart, the only single from Yes to do so,[32] for two weeks in January 1984. Kaye's short-term replacement on keyboards, Eddie Jobson, appeared briefly in the original video but was edited out as much as possible once Kaye had been persuaded to return to the band.[55]

Yes began recording for their twelfth album, Big Generator, in 1986. The sessions underwent many starts and stops due to the use of multiple recording locations in Italy, London and Los Angeles as well as interpersonal problems between Rabin and Horn, which kept the album from timely completion. Eventually Rabin took over final production, and the album was released in September 1987, reaching number 17 in the UK and number 15 in the US.[30]Big Generator earned Yes a nomination for a second Grammy Award for Best Rock Performance by a Duo or Group with Vocal in 1988.[60] The single "Love Will Find a Way" topped the Mainstream Rock chart, while "Rhythm of Love" reached number 2 and "Shoot High Aim Low" number 11.[30] The 1987–1988 tour ended with an appearance at Madison Square Garden on 14 May 1988 as part of Atlantic Records' 40th anniversary.

By the end of 1988, Anderson felt creatively sidelined by Rabin and Squire and had grown tired of the musical direction of the "Yes-West" line-up. He took leave of the band, asserting that he would never stay in Yes purely for the money, and started work in Montserrat on a solo project that eventually involved Wakeman, Howe, and Bruford. This collaboration led to suggestions that there would be some kind of reformation of the "classic" Yes, although from the start the project had included bass player Tony Levin, whom Bruford had worked with in King Crimson. The project was contractually unable to take over or otherwise use the Yes name as Anderson, Squire, White, Kaye, and Rabin held the rights which dated back to the 90125 contract.[citation needed] The group was instead called Anderson Bruford Wakeman Howe (ABWH), which suited Bruford since he wanted to distance himself from the "Yes" name.[citation needed]

Their eponymous album released in 1989 featured "Brother of Mine", which became an MTV hit, and went gold in the United States. It later emerged that the four band members had not all recorded together; Anderson and producer Chris Kimsey slotted their parts into place. Howe has stated publicly[61] that he was unhappy with the mix of his guitars on the album, though a version of "Fist of Fire" with more of Howe's guitars left intact appeared on the In a Word box set in 2002. ABWH toured in 1989 and 1990 as "An Evening of Yes Music" which featured Levin, keyboardist Julian Colbeck, and guitarist Milton McDonald as support musicians. A live album was recorded and released in 1993 titled An Evening of Yes Music Plus that featured Jeff Berlin on bass due to Levin suffering from illness. The tour was also dogged by legal battles sparked by Atlantic Records due to the band's references to Yes in promotional materials and the tour title.

Following the tour the group returned to the recording studio to produce their second album, tentatively called Dialogue. After hearing the tracks Arista Records refused to release the album as they felt the initial mixes were weak. They encouraged the group to seek outside songwriters, preferably ones who could help them deliver hit singles. Anderson approached Rabin about the situation, and Rabin sent Anderson a demo tape with four songs, indicating that ABWH could have one but had to send the others back. Arista listened to all four and wanted all of them, but Rabin would not agree to the request.[citation needed] The "Yes-West" group were working on a follow-up to Big Generator and had been shopping around for a new singer. Ex-Supertramp vocalist Roger Hodgson had already rejected the post; while he enjoyed working and writing with the group, he thought it unwise to attempt to pass off the resulting music as "Yes." The band had also been working with Kansas singer Steve Walsh[53] and with Billy Sherwood of World Trade. Walsh only spent one day with them, but Sherwood and the band worked well enough together and continued with writing sessions. Arista suggested that the "Yes-West" group, with Anderson on vocals, record the four songs to add to the new album which would then be released under the Yes name.

Union was released in April 1991 and is the thirteenth studio album from Yes. Each group played their own songs, with Anderson singing on all tracks. Squire sang background vocals on a few of the ABWH tracks, with Tony Levin playing all the bass on those songs. The album does not feature all eight members playing at once. The track "Masquerade" earned Yes a Grammy Award nomination for Best Rock Instrumental Performance in 1992.[62]Union sold approximately 1.5 million copies worldwide, and peaked at number 7 in the UK and number 15 in the US charts.[30] Two singles from the album were released. "Lift Me Up" topped the Mainstream Rock charts in May 1991 for six weeks, while "Saving My Heart" peaked at number 9.[32]

Almost the entire band have openly stated their dislike of Union. Bruford has disowned the album entirely, and Wakeman was reportedly unable to recognise any of his keyboard work in the final edit and threw his copy of the album out of his limousine. He has since referred to the album as "Onion" because it makes him cry when he thinks about it. Union Co-producer Jonathan Elias later stated publicly in an interview that Anderson, as the associate producer, knew of the session musicians' involvement. He added that he and Anderson had even initiated their contributions, because hostility between some of the band members at the time was preventing work from being accomplished.[63] The 1991–1992 Union tour united all eight members on a revolving circular stage. Following its conclusion, Bruford chose not to remain involved with Yes and returned to his jazz project Earthworks.

In 1993, the album Symphonic Music of Yes was released and features orchestrated Yes tracks arranged by David Palmer. Howe, Bruford and Anderson perform on the record, joined by the London Philharmonic Orchestra, the English Chamber Orchestra, and the London Community Gospel Choir. The following Yes studio album, as with Union, was masterminded by a record company, rather than by the band itself. Victory Music approached Rabin with a proposal to produce an album solely with the 90125 line-up. Rabin initially countered by requesting that Wakeman also be included. Rabin began assembling the album at his home, using the then-pioneering concept of a digital home studio, and used material written by himself and Anderson. The new album was well into production in 1993, but Wakeman's involvement had finally been cancelled, as his refusal to leave his long-serving management created insuperable legal problems.

Talk was released in March 1994 and is the band's fourteenth studio release. Its cover was designed by pop artistPeter Max. The record was digitally recorded in its entirety by Rabin and co-engineer Michael Jay, using 3.4 GB of hard disk storage split among four networked Apple Macintosh computers running Digital Performer, the first album ever recorded with such software. The album blended elements of radio-friendly rock with a more structurally ambitious approach taken from the band's progressive blueprint, with the fifteen-minute track "Endless Dream". The album reached number 20 in the UK and number 33 in the US.[30] The track "The Calling" reached number 2 on the BillboardHot Mainstream Rock Tracks chart and "Walls", which Rabin had written with former Supertramp songwriter and co-founder Roger Hodgson, peaked at number 24.[32] It also became Yes’ second-to-last charting single.[64] Rabin and Hodgson wrote a lot of material together and became close friends.[64] Yes performed "Walls" on Late Show with David Letterman on 20 June 1994.

The 1994 tour (for which the band included Billy Sherwood on additional guitar and keyboards) used a sound system developed by Rabin named Concertsonics which allowed the audience located in certain seating areas to tune portable FM radios to a specific frequency, so they could hear the concert with headphones.[65] In early 1995, following the tour, Kaye and Rabin both left Yes to pursue other projects.

In November 1995, Anderson, Squire and White resurrected the "classic" 1970s lineup of Yes by inviting Wakeman and Howe back to the band, recording two new lengthy tracks called "Be the One" and "That, That Is". In March 1996, Yes performed three live shows at the Fremont Theater in San Luis Obispo, California which were recorded and released, along with the new studio tracks, that October on CMC International Records as the Keys to Ascension album, which peaked at number 48 in the UK and number 99 in the US.[30] A same-titled live video of the shows was also released that year.

Yes continued to record new tracks in the studio, drawing some material written around the time of the XYZ project. At one point the new songs were to be released as a studio album, but commercial considerations meant that the new tracks were eventually packaged with the remainder of the 1996 San Luis Obispo shows in November 1997 on Keys to Ascension 2. The record managed to reach number 62 in the UK, but failed to chart in the US.[30] Disgruntled at the way a potential studio album had been sacrificed in favour of the Keys to Ascension releases (as well as the way in which a Yes tour was being arranged without his input or agreement) Wakeman left the group again. (The studio material from both albums would eventually be compiled and re-released without the live tracks onto a single CD, 2001's Keystudio.)

Yes live performance June 1998

With Yes in disarray again, Squire turned to Billy Sherwood (by now the band's engineer) for help.[66] Both men had been working on a side project called Conspiracy and reworked existing demos and recordings from there to turn them into Yes songs, and also worked on new material with Anderson and White (Howe's involvement at this stage was minimal, mainly taking place towards the end of the sessions). Sherwood's integral involvement with the writing, production and performance of the music led to his finally joining Yes as a full member (taking on the role of harmony singer, keyboardist and second guitarist).

The results of the sessions were released in November 1997 as the seventeenth Yes studio album, Open Your Eyes (on the Beyond Music label, who ensured that the group had greater control in packaging and naming). The music (mainly at Sherwood's urging) attempted to bridge the differing Yes styles of the 1970s and 1980s.[66] (Sherwood: "My goal was to try to break down those partisan walls—because all of the music was so good. There are people who won't listen to Genesis, say, after 1978, but I can't imagine that. I love all music. That was the one thing I tried to do, to bring unity. During the time I was with Yes, you heard new things, and classic things. For that, I am proud — to have aligned planets for a moment in time."[66]) However, Open Your Eyes was not a chart success; the record peaked at number 151 on the Billboard 200[30] but failed to enter the charts in the UK. The title single managed to reach number 33 on the Mainstream Rock chart.[32]

For the 1997/1998 Open Your Eyes tour, Yes hired Russian keyboard player Igor Khoroshev, who had played on some of the album tracks. Significantly, the tour setlist featured only a few pieces from the new album, and mostly concentrated on earlier material. Anderson and Howe, who had been less involved with the writing and production on Open Your Eyes than they'd wished, would express dissatisfaction about the album later.

By the time the band came to record their eighteenth studio album The Ladder with producer Bruce Fairbairn, Khoroshev had become a full-time member (with Sherwood now concentrating on songwriting, vocal arrangements and second guitar). With Khoroshev's classically influenced keyboard style, and with all members now making more or less equal writing contributions, the band's sound returned to its eclectic and integrated 1970s progressive rock style. The Ladder also featured Latin music ingredients and clear world music influences, mostly brought in by Alan White (although Fairbairn's multi-instrumentalist colleague Randy Raine-Reusch made a strong contribution to the album's textures). One of the album tracks, "Homeworld (The Ladder)", was written for Relic Entertainment's Homeworld, a real-time strategy computer game and was used as the credits and outro theme.

The Ladder was released in September 1999, peaking at number 36 in the UK and number 99 in the US.[30] While on tour in 1999 and early 2000, Yes recorded their performance at the House of Blues in Las Vegas, releasing it in September 2000 as a DVD and live album called House of Yes: Live from House of Blues. This would be the last album to feature Billy Sherwood, who saw his role in Yes as creating and performing new music. Realising that the rest of the band now wished to concentrate on performing the back catalogue, he amicably resigned from Yes at the end of the tour.[66]

Later in the year, Yes embarked on the three-month Masterworks tour of the United States, on which they performed only material which had been released between 1970 and 1974 (The Yes Album through to Relayer). While on tour, Khoroshev was involved in a backstage incident of sexual assault[67][68][69] and parted company with the band at the end of the tour.

In 2001, Yes released their nineteenth studio album Magnification. Recorded without a keyboardist, the album features a 60-piece orchestra conducted by Larry Groupé; the first time the band used an orchestra since Time and a Word in 1970. The record was not a chart success; it peaked at number 71 in the UK and number 186 in the US.[30] Yes toured with a symphony orchestra in 2001 with keyboardist Tom Brislin as Wakeman was occupied with his solo tours. Their performance in Amsterdam was released on DVD in 2002 and CD in 2009 as Symphonic Live.

In 2004, Squire, Howe and White reunited for one night only with former members Trevor Horn, Trevor Rabin and Geoff Downes during a show celebrating Horn's career, performing three Yes songs. The show video was released in DVD in 2008 under the name Trevor Horn and Friends: Slaves to the Rhythm.[71][72]

On 18 March 2003 minor planet (7707) Yes was named in honour of the band.[73]

After the 35th anniversary tour in September 2004, Yes were inactive for four years. Anderson, unlike the other members, was not interested in producing a new studio album after the low sales of Magnification. He claimed that recording one was not "logical any more," and no announcement was made regarding a release of the new material.[74]

A 40th anniversary "Close to the Edge and Back" tour was scheduled to begin in 2008 – Anderson would later claim that the band had rehearsed four new "lengthy, multi-movement compositions" for the tour.[75] With Rick Wakeman unable to tour for health reasons, his son Oliver Wakeman was chosen to replace him on keyboards indefinitely. The tour was abruptly cancelled in May 2008 after Anderson suffered an asthma attack and was diagnosed with acute respiratory failure.

The remainder of Yes became tired of waiting for Anderson's return and in early September 2008, it was announced that he had been replaced by Canadian musician Benoît David, a member of Mystery and of the Yes tribute band Close to the Edge.[76] From 2008 to 2010, Yes performed the In the Present Tour, with Asia and Peter Frampton supporting the band on certain legs. A number of dates in 2009 were cancelled when Squire required emergency leg surgery plus recovery time.[77]

In August 2010, it was announced that new material had been written for Fly from Here, Yes' twentieth studio album.[78][79] Howe dispelled rumours that Anderson was invited back to sing on the record, asserting that all studio recording was to be carried out by "the line-up that actually...does the work."[80]

Yes then signed a deal with Frontiers Records and began recording in Los Angeles with Trevor Horn serving as producer. Much of the album material was extrapolated from a pair of songs written by Horn and Geoff Downes around the time that they had been Yes members during 1980 and the Drama album. During the recording sessions, the band thought it would be wise to bring Downes back to replace Oliver Wakeman on keyboards, reasoning that he was closer to the material. Upon completion of recording in March 2011,[81] and post-production a month later,[82] the album was released worldwide that July.[83]Fly from Here peaked at number 30 in the UK and 36 in the US.[30]

In February 2012, after David contracted a respiratory illness, he was replaced by Glass Hammer singer Jon Davison. Davison was recommended to Squire by their common friend Taylor Hawkins, drummer for the Foo Fighters.[85] Davison would join Yes to complete the band's scheduled dates across the year.

In August 2013, the fan campaign Voices for Yes[86] was launched to get the band into the Rock and Roll Hall of Fame.[87][88] The campaign was headed by two US political operators: John Brabender, senior media strategist for Republican Rick Santorum's 2012 US presidential campaign, and Tad Devine, who worked on Democrat John Kerry's 2004 presidential campaign and Al Gore's 2000 campaign.[89][90][91] Also involved were former NBC president Steve Capus and former Director of the White House Office of Political AffairsSara Taylor.[92] On 16 October 2013, Yes failed to be inducted.[93] In November 2013, Anderson expressed a wish to return to Yes in the future for a "tour everybody dreams of",[94] and cited Yes's nomination for inclusion into the Rock and Roll Hall of Fame as a motive for a possible reunion.[95] Howe, however, has stated his opinion of Anderson returning, asserting "I'm not sure our mutual desire to achieve the same thing exists any more ... I think there has to be some element of moving on."[96]

From March 2013 to June 2014, Yes completed their Three Album Tour where they performed The Yes Album, Close to the Edge and Going for the One in their entirety.[97][98] During the tour, they led a progressive-rock themed cruise titled "Cruise to the Edge".[99] A second cruise happened April 2014, and the band headlined the November 2015 edition. The show on 11 May 2014 in Bristol was released as Like It Is: Yes at the Bristol Hippodrome in 2014, featuring performances of Going for the One and The Yes Album.

Heaven & Earth, the band's twenty-first studio album and first with Davison, was recorded between January–March 2014,[100][101][102] at Neptune Studios in Los Angeles with Roy Thomas Baker as producer and former band member Billy Sherwood as engineer on backing vocals[103] and mixer. Squire described the recording process as "a very enjoyable experience" and Baker someone "really good to work with", and described the writing process of the album which involved Davison travelling to Howe and Squire's homes to write and develop the new music, both "musically and lyrically".[50]

To promote Heaven & Earth, Yes resumed touring between July–November 2014 with a world tour covering North America, Europe, Australia, New Zealand and Japan, playing Fragile and Close to the Edge in their entirety with select songs from Heaven & Earth and encores.[104][105] The show in Mesa, Arizona was released in 2015 as Like It Is: Yes at the Mesa Arts Center which features the performances of Close to the Edge and Fragile.[106][107]

In May 2015, news of Squire's diagnosis with acute erythroid leukemia was made public. This resulted in former guitarist Billy Sherwood coming in to replace him during Squire's treatment for their 2015 summer North American tour with Toto between August–September, and their third annual Cruise to the Edge voyage in November. However, Squire's condition deteriorated soon after; he died on 27 June at his home in Phoenix, Arizona. Downes first announced his passing on Twitter.[108] Squire asked White and Sherwood to continue the legacy of the band,[109] which Sherwood recalled "was paramount in his mind ... so I'm happy to be doing that."[110] Yes performed their first show without Squire, the first in their 47-year history, on 7 August 2015 in Mashantucket, Connecticut.[111][112][113][114]

In October 2015, Yes were nominated for induction into the Rock and Roll Hall of Fame for a second time,[115] but again failed to be inducted. A month later, they completed their annual Cruise to the Edge voyage.

In January 2016, news of the formation of Anderson, Rabin and Wakeman (simply called ARW), a band formed by the three named Yes members, was announced. They revealed they had started to develop material for an album.[116][117][118] The band will tour North America and Europe from October 2016 to March 2017 as An Evening of Yes Music and More, playing classic Yes songs from the 1970s and 80s, as well as an ABWH song, "The Meeting." New music in some form is expected in 2017.[119]

In 2016, Yes performed Fragile and Drama in their entirety on their April–June European tour. Trevor Horn sang "Tempus Fugit" with the band for two UK shows.[120] This was followed by Drama and sides one and four of Tales from Topographic Oceans performed across North America between July–September.[121] White missed the latter tour after he underwent back surgery and needed time to recover which led to American drummer Jay Schellen taking his place.[122] White returned to the group in time for the band's Japanese tour scheduled for November 2016.[123][124]

In 2016, Yes were nominated for induction into the Rock and Roll Hall of Fame for the third time.[125]

Yes will headline the February 2017 edition of the Cruise to the Edge progressive rock cruise. Before and after the event, they will continue performing Drama and half of Tales for six shows in the US.

There has also been work on a possible re-release of Fly from Here with Trevor Horn providing new lead vocals, according to news reports in December 2016.[126]

After the release of 90125, Yes released an extended single disco remix of "Owner of a Lonely Heart" called "The Red and Blue Mix" on cassette tape. A version of "Leave It" using scratching was on the b-side. This version was filmed and was an introduction video on a subsequent tour.